I also love the 1976 early arrangement with the... more straightup mixolydian(? I think, just taking a stab) more major-y jam rather than the later dark Lydian craziness. 6/29/76 stands out in my mind as a really bright crispy one.

This song however, is one of the few imho that actually reached its peak in late 80's, stretching furthur than before, and going to some places of great power. Personal highlight: 7/15/88 (with the "T.J. Hooker" OctaPad sounds lol) ah, afternoon at the Greek!

tigerstrat wrote:I also love the 1976 early arrangement with the... more straightup mixolydian(? I think, just taking a stab) more major-y jam rather than the later dark Lydian craziness. 6/29/76 stands out in my mind as a really bright crispy one.

Hmmm...I always thought the jam at the end was in a minor...say Em? I thought they jammed on Em until they hit the big B chord for 4 measures that signled they were going back into the "flight of the seabirds" part. Am I way off base here? Geez...well, I've been wrong before. If not, what is it in/how does it go?

Play music, expand the mind, inspire...

"We must embrace pain and burn it as fuel for our journey" - Japanese poet Kenji Miyazawa

I dig the later era ones with Brent. I love the jam part toward the end, right before the reprise where it feels like the music turns "inside out" for lack of a better description, I'd love it when the boys did that. It was a cool musical hat trick, Anyone else know what I'm talking about?

bodiddley wrote:I dig the later era ones with Brent. I love the jam part toward the end, right before the reprise where it feels like the music turns "inside out" for lack of a better description, I'd love it when the boys did that. It was a cool musical hat trick, Anyone else know what I'm talking about?

That's the B part that I just mentioned above.

Play music, expand the mind, inspire...

"We must embrace pain and burn it as fuel for our journey" - Japanese poet Kenji Miyazawa

bodiddley wrote:I dig the later era ones with Brent. I love the jam part toward the end, right before the reprise where it feels like the music turns "inside out" for lack of a better description, I'd love it when the boys did that. It was a cool musical hat trick, Anyone else know what I'm talking about?

Just driving back from a mini road trip late for work and was listening to the Radio City Halloween show and it's got that inside-out sound to it. Hadn't listened to that in awhile and had to play it 3X. Almost sounds like someone (can't tell who) calls out the change at the end of the jam, twice even, or they could have been stuck all night. Very intense version. I like fiendish as a descriptor. Somebody said dark. Same thing.